Ed Ruscha, ‘Reloj de Arena (Hourglass) ’, 1988, Alpha 137 Gallery
Ed Ruscha, ‘Reloj de Arena (Hourglass) ’, 1988, Alpha 137 Gallery
Ed Ruscha, ‘Reloj de Arena (Hourglass) ’, 1988, Alpha 137 Gallery
Ed Ruscha, ‘Reloj de Arena (Hourglass) ’, 1988, Alpha 137 Gallery
Ed Ruscha, ‘Reloj de Arena (Hourglass) ’, 1988, Alpha 137 Gallery
Ed Ruscha, ‘Reloj de Arena (Hourglass) ’, 1988, Alpha 137 Gallery
Ed Ruscha, ‘Reloj de Arena (Hourglass) ’, 1988, Alpha 137 Gallery
Ed Ruscha, ‘Reloj de Arena (Hourglass) ’, 1988, Alpha 137 Gallery

This is an uncommon vintage etching in three colors from a small edition of only 45, by legendary American artist Ed Ruscha. It was printed in four runs from three copper plates of black, grey and ochre. It is a stark, minimalist depiction of an hourglass, one of the artist's recurring, trademark images, representing his preoccupation with the passage of time. In 1988 the publisher, originally sold this print for $11,000, until they completely sold out of the edition. It was published by the prestigious Ediciones Poligrafa in Barcelona, Spain and printed by Poligrafa Obra Grafica, renowned for publishing prints by some of the most important contemporary masters including Ed Ruscha, Helen Frankenthaler, Francis Bacon, and Claes Oldenburg. This work was exhibited at the Works Gallery, Long Beach, California and has the original gallery label on the verso of the frame. In elegant wooden frame (light wood) under plexiglass.
Publisher: Ediciones Poligrafa, Barcelona
Printer: Poligrafa Obra Graficam, Barcelona
Image Size: 18.25 x 13.1 in. (46.36 x 33.27 cm.)
Overall Size: 30 x 22 in. (76.2 x 55.88 cm.)
Framed Size: 33 x 25 x 1 in. (83.82 x 63.5 x 2.54 cm.)

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Signature: Signed and dated lower right; numbered lower left in pencil; bears Works Gallery label verso of the frame

Works Gallery, Long Beach California

Works Gallery, Long Beach California

About Ed Ruscha

Despite being credited with a Pop sensibility, Ed Ruscha defies categorization with his diverse output of photographic books and tongue-in-cheek photo-collages, paintings, and drawings. Ruscha’s work is inspired by the ironies and idiosyncrasies of life in Los Angeles, which he often conveys by placing glib words and phrases from colloquial and consumerist usage atop photographic images or fields of color. Known for painting and drawing with unusual materials such as gunpowder, blood, and Pepto Bismol, Ruscha draws attention to the deterioration of language and the pervasive cliches in pop culture, illustrated by his iconic 1979 painting I Don’t Want No Retro Spective. “You see this badly done on purpose, but the badly-done-on-purpose thing was done so well that it just becomes, let’s say, profound,” he once said. Equally renowned were his photographic books, in which he transferred the deadpan Pop style into series of images of LA—apartments, palm trees, or Twentysix Gasoline Stations (1962), his most famous work.

American, b. 1937, Omaha, Nebraska, based in Los Angeles, California

Group Shows

2013
San Francisco,
Selected Works: Tony Cragg, Philip Guston, Callum Innes, Julie Mehretu, Martin Puryear, Edward Ruscha